Small Prelude D Major BWV 925 - Piano

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Schenker reports continuing trouble with Hertzka, especially over delays to the publication of Tonwille 5 and 6, which were supposed to appear the previous year, and is beginning to think about legal action. Hertzka has made his position so difficult that he feels obliged to turn down Max Temming's offer of direct financial support for his work.

He asks Violin to help find a post in Hamburg for Carl Bamberger, a gifted pupil who, though he neglected his piano studies for a while, is keen to make up for lost time. Finally, he asks if Violin received any of the four volumes of the Beethoven piano sonata edition. Violin acknowledges receipt of Tonwille 5 and the Beethoven sonata edition. In the former, he finds the graphs of the short preludes by Bach more difficult than anything that Schenker has previously done. He will write to Bamberger with the offer of help in finding an accompanist post in Hamburg. In response to a question on the "Appassionata" Sonata from one of his pupils, he offers an explanation for the falling direction of the transitional theme measures and its reappearance in the development section measures in inverted, ascending form; he asks if this interpretation is sensible.

Schenker confirms Violin's interpretation [given in his previous letter] of the "Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has written to say that he and his son are using Schenker's analyses of Bach preludes in their counterpoint classes, and expresses the hope that one day they will continue Schenker's work independently.

In response to matters raised by Halm in two previous letters, Schenker discusses figuration, distinguishing between that which works only on the surface and that which arises out of the middle and background, drawing on primal intervals. He also concedes that he heard Bruckner improvising, and criticizes it adversely.

He refers to Reger, and outlines plans for forthcoming volumes of Der Tonwille. Asks Halm to send some of his chamber music to Rudolf Pollak, with prospect of performance of the A major string quartet. Schenker names ten universities that should receive complimentary copies of Der Tonwille, explaining that university music departments Seminare are more suitable recipients than conservatories and other types of music schools.

The latter have agreed to publish his study of Beethoven's Sonata Op. Altmann is about to send Schenker the autograph parts of J. Bach's St Matthew Passion, and asks for remittance. Schenker, repeating some of the points made in earlier letters, continues to give an account of Hertzka's dishonest dealings with him over Der Tonwille and asks Violin to give him an accurate count of the subscriptions that Max Temming paid for in the distribution of free copies of the journal to university music departments.

He asks if Violin suspects that anti-Semitism lurks behind some of the critical notices of his recent concert. Finally, he mentions an article in Die Musik by Paul Bekker that numbers Schenker among the hermeneutists; the same issue contains a review of Der Tonwille, by Max Broesicke-Schon, disputing the supreme genius of the canonic composers. Leaving Der Tonwille behind, which has earned him little money and caused him much misery, he has written a lengthy study of Bach's solo violin works, which will be published in the first volume of Das Meisterwerk in der Musik, which will include a critique of Ernst Kurth's Grundlagen des linearen Kontrapunkts.

Continuing the story of the ongoing financial battle against Hertzka and Universal Edition, Schenker thanks Violin for providing confirmation of the subscriptions paid for by Max Temming, then recounts that, at a meeting with Hertzka and his bookkeeper, the order-book for Der Tonwille had several pages torn out.


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Schenker is upset that his lawyer Dr. Baumgarten, though an old friend, is not fully supportive of his position and would prefer seek a compromise with Hertzka; this, Schenker feels, would rob him of much of his hard-earned royalties, especially from the Beethoven sonata edition. He now asks Violin to find a contact — outside Hamburg — who would be willing to order nine copies of Tonwille 1, as evidence that this issue is still in demand, despite Hertzka's claims to the contrary.

He has attended a performance of Hans Weisse's Sextet, of which he found the variation movement and the trio section of the scherzo to be the most satisfactory parts. Schenker agrees to to teach Violin's pupil Agnes Becker twice a week, as soon as she is ready to come to Vienna. He is not optimistic that humanity in general will truly understand the classics, which underscores the important of his and Violin's mission. Finding his name mentioned adversely in Meisterwerk 1, Hindemith writes that he has always striven to fulfill in his own work the fundamental truths that are stated in Schenker's books.

He encloses two scores, and is convinced Schenker will find the Urlinie in them. In response to Hindemith's letter of October 25, , Schenker's page first draft states his preference for a meeting with Hindemith in Vienna. Schenker thinks differently from Hindemith: the notion of a "good musician" is a delusion; artistic property is comparable with material property; the music of today is quite different from that of the past, the rules of the masterworks do not govern it, hence it is not art at all.

Schenker reserves the right to speak his own mind. Deutsch thanks Schenker for his recent communications, including a copy of the contract with Drei Masken Verlag for the Meisterwerk Yearbook, and asks for a copy of relevant extracts from the correspondence with the publishers. He reports progress in the establishment of a Photogram Archive at the Austrian National Library, with the cooperation of Dr Robert Haas and financial support from Anthony van Hoboken; similar plans to photographically reproduce autograph manuscripts are underway at the Beethoven House in Bonn, and for manuscripts of Bach and Handel also in England.

He advises Schenker that proofs will start arriving from the printing-house Waldheim in a few weeks, and expresses his delight in being able to assist Schenker in the promotion of his work. Acknowledges Schenker's reply and corrections. There will be no problem with his teacher's examination in May. Reports on recent activities. Hoboken had to cancel his planned visit to John Petrie Dunn because of illness.

Replying to Violin's previous letter, Schenker expresses surprise about Egon Pollak's enthusiasm for C. Bach's Double Concerto.

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He also expresses uncertainty about whether to accept an honor from the Academy of Arts and Science in Vienna. A translation and adaptation of part of his Counterpoint, vol. He sends little Karl a picture of himself, and leaves space for Violin's sister Fanny to add a short greeting. Thanking Halm for his Beethoven book, he believes that their misunderstandings could be removed and hopes Der freie Satz will help bring that about; gives order of publication for Meisterwerk II and Der freie Satz, and compares his "Das Organische der Fuge" with the work of others on Bach.

Hoboken has met a violinist, Dr. Loewenstein, who consults early editions and manuscripts for performance purposes, and who cites Otto Klemperer as interpreting from early sources. Owing to a "complete breakdown," Violin is recovering at a sanatorium in Schierke, from where he writes. In response to Schenker's previous postcard, Violin had written more than once to Prof.

A pupil of his, Harry Hahn, has taken upon himself to lecture on Schenker's theories at the local society of composers; for this he has prepared classroom-size enlargements of voice-leading graphs of a Bach prelude and a Schubert waltz, and has proved a surprisingly competent and persuasive speaker. Schenker has received large-format Urlinie charts from Harry Hahn and recommends format to Cube. Weisse points out a part-writing error in Schenker's Counterpoint, vol.

18 Little Preludes and Fugues: Piano Solo

He suggests that his teacher looks at Alois Haba's recently published Neue Harmonielehre, and commends Oppel's recent article on Bach's fugal technique. On the point of departing for the Riviera with his brother-in-law — possibly via Vienna — Violin asks Schenker to make a quick assessment of his voice-leading reduction of Bach's first Two-Part Invention, in C major. Gerhard Albersheim will leave a space in Schenker's calendar that Schenker offers to Erich Voss; will teach him himself because Weisse may not be up to date with Der freie Satz; Voss to contact him.

Offers New Year greetings; reports on his current mood, on the Conservatory, his private teaching, and publication plans. Reports on compositional activity and reading. Schenker reacts to Hoboken's news that he has been consulting Breithaupt on piano technique, and defines Hoboken's character as a pianist. Schenker summarizes the achievements and ambitions of several of his pupils and followers Albersheim, Cube, Vrieslander, Roth, Jonas, and Weisse , noting that Weisse is the most ambitious of all of these though he is not completely at home in the new theory.

He fears that something might go wrong at Weisse's forthcoming lecture at the Central Institute for Music Education, and hopes that Violin will listen with a sharp ear. Weisse will give a trial run of the lecture at the Schenkers' apartment. Weisse describes the extraordinary success of his second lecture at the Society for Music Pedagogy in Vienna.

Schenker encloses the [Mozart calling] card, and sends an article from Der Kunstwart; he emphasizes that Moriz Violin's new institute is a "school," not a "seminar," and offers detailed advice; comments that his theory from Harmonielehre to Meisterwerk constitutes a self-contained whole; recommends use of C.

His eyes have suffered and need complete rest. Cube reports enrollment and quality of students at the Schenker Institute, Hamburg; his own teaching is increasingly small-group-tuition based, drawing on Tonwille and Meisterwerk. Karl Violin is recovering. Encloses graph of J. October 29, ].

For harpsichord

Jonas reports on his course on Schenker's theory at the Stern Conservatorium, two forthcoming lectures, an article intended for publication, two radio talks and a radio recital; includes reference to his later textbook Das Wesen des musikalischen Kunstwerks. After a long silence, for which he apologizes, Weisse congratulates Schenker on the completion of Der freie Satz and reports that he has composed a violin sonata, which retains the neo-Bachian style of his three-voiced piano pieces of He gives Schenker the dates of his sailing to America and his address in New York.

Cube reports on his current state of mind, his work on a Bach graph commenting on a graph by Angi Elias , promises to send an article on Schenker that has appeared in the Frankfurter Zeitung, on the difficulties of the Schenker-Institut, and on Moriz and Karl Violin.


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  4. Weisse has received a copy of Otto Vrieslander's recently published songs and has written Vrieslander a long, critical letter. Weisse reports the success of his lecture on the C minor prelude from the Well-Tempered Clavier, Book 1.